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Better Half-Dead Than Read? the Mezzomorto Cases and Their Implications for Literary Culture in the 1930S

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Better Half-Dead Than Read? the Mezzomorto Cases and Their Implications for Literary Culture in the 1930S This may be the author’s version of a work that was submitted/accepted for publication in the following source: Goldsmith, Ben (1998) Better half-dead than read? The Mezzomorto cases and their implications for literary culture in the 1930s. In Australian Literature and the Public Sphere, 1998-07-03 - 1998-07-07. This file was downloaded from: https://eprints.qut.edu.au/78437/ c Copyright 1998 [please consult the author] This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. Better Half-Dead than Read? The Mezzomorto Cases and their Implications for Literary Culture in the 1930si BEN GOLDSMITH, GRIFFITH UNIVERSITY This article focusses on the two libel cases arising from Brian Penton's review of Vivian Crockett's novel Mezzomorto for the Bulletin in 1934, viewing them as points of entry into Australian literary politics in the 1930s, and as windows on to one of the most enduring and interesting feuds in Australian literary culture, that between P.R. 'Inky' Stephensen, self- styled 'Bunyip Critic,' and Brian Penton, arch exponent of 'destructive criticism' and scourge of parochial pretension. The cases are particularly interesting for what they reveal about the evolving positions of two influential figures in Australian writing of the 1930s and 1940s. They also play in to contemporary debates about the state and status of 'literature' in Australia. And while Penton's biographer Patrick Buckridge avers that the cases did not impact on any of the larger contemporary literary issues (meaning censorship and free speech), a case may be made for the significance of the libel actions in the context of attempts to establish an industrial and cultural presence for a diverse range of Australian writing. Stephensen had gambled a great deal on the success of Mezzomorto, published by the press that bore his name in September 1934 with an eye on the crucial Christmas market. P.R. Stephensen and Co. had been troubled both financially and legally since its inception at the beginning of that year, and none of its makeshift list was yet to reach the magical sales figure of 2000 copies which Stephensen had calculated was necessary to tum a profit (Stephensen Papers, Fryer Library MSS 5511). In a report to shareholders the previous May, Stephensen conceded that only £735 of the £2000 sought had been subscribed after the company's prospectus was issued at the end of January 1934. The majority of investors were practising or aspiring authors and their families, among them Ruth and Victor White who invested £300 in the company to secure publication of their son Patrick's book of poems, The Ploughman (Marr 128). An additional £900 was raised between June and October 1934 (Stephensen v. Bulletin 253). The capital shortfall was compounded by mounting legal bills; between September 1934 and January 1935, a month before the company went into voluntary liquidation, at least ten draft summons, one garnishee summons and one bailiff's notice were issued on Stephensen by unpaid creditors (Stephensen Papers, Mitchell Library MS 1284/31 box Y2125). The Company desperately needed a bestseller to pacify creditors; to pay long overdue royalties; and, most importantly, to bolster the confidence of prospective investors in this and others of Stephensen's myriad literary schemes which included plans to establish a national publishing house, a literary guild and a critical periodical (Stephensen Papers, Mitchell Library MSS 1284 Box Y2124; Munro 153 ff). Despite Stephensen's claim in his testimony during his libel action that 'I considered that it was one of the very best books ever written by an Australian author' (Stephensen v. Bulletin 259-60), Mezzomorto rarely rates a mention in critical studies of the Australian novel or of Australian writing in the period between the wars. In essence, the novel is a meditation on the sense of placelessness felt by the offspring of immigrants to Australia. Its central character, Brett Lesslie, is a third generation Australian and descendant of wealthy squatters who is having difficulty coming to terms with 'the new nation which was forming itself in an environment wholly exotic to the racial elements composing it' (Crockett 13). He feels keenly 'that frustration of spirit which is the mark of the exile', and his sense of alienation from the land places him (and the novel) at odds with the contemporary nationalist literary project which sought to write white settlers and their descendants into the Australian landscape by highlighting their historical, emotional and physical connection to the land (13). But despite this feeling of alienation, Lesslie is sensitive to what he calls the 'place-spirit' which may be 'hostile, perhaps, to the intrusion on its domain of such human spirits as his' (16). He marries an Englishwoman and they move to Europe, but their relationship becomes strained. They drift apart, and Lesslie's sex-drive suffers; he develops a fascination for Vienna (home of both Freud and Franz Anton Mesmer, the father of hypnotism) 'whose people, he considered, had achieved the most attractive synthesis of all the arts of life, its culture and its pleasures' (18). Seeking relief from 'the maladjustment of his life [which] reflected itself in a developing physical debility and disorder of his nerves', Lesslie seeks out Dr Ladislas Baroczi , an astro-physicist, amateur psychologist, and narrator of the novel (19). Baroczi persuades Lesslie to become the subject of an experiment to test his hypothesis that romantic fantasies gratify because their outcomes are known and fixed, whereas their pleasures may not be so apparent to those actually experiencing them. Baroczi's therapy is a form of hypnotic hypermnesia (in which hypnosis is used to enhance recall of past events) with the key difference being that Lesslie does not recall the events. Rather - they are suggested to him by Baroczi who invents entire adventures for his subject. Lesslie is hypnotised six times during the novel: imagining himself (or imagined by Baroczi) as Marshal Hippolyte Lothaire Achille Celadon du Castel-Dandeloup des Tourterelles in the army of Louis XV; twice as Lieutenant Lucien d'Amar, an officer in Louis XV's navy who has pledged to rescue his betrothed, kidnapped by the Barbary pirate Mezzomorto and taken to Istanbul; as Mezzomorto himself when Lesslie decides he prefers the pirate fantasy; as Napoleon Bonaparte campaigning in Egypt; and as religious dissenter Fabio Orsini in Renaissance Rome. After the first hypnosis, Lesslie is revivified, but finds it increasingly difficult to separate the fantasy world Baroczi has created for him from reality. He meets a young actress, Nadejda, in a bar, and begins an affair, but, captivated by the story of Mezzomorto, Lesslie desires a Caucasian mistress. He is introduced to Tamara, an Ossete tribeswoman, by her brother Rozanov, and is attracted to what he sees as her barbarity and submissive nature. As Lesslie contemplates marriage, Tamara demands to be whipped because '[a]mong the Ossetes ... every husband demands utter submission of his bride [and as] she is an Ossete, it is her duty to submit, once at least, to marital chastisement' (205-06). Despite initial qualms, Lesslie desires nothing more than to have the whip hand he believes has so long been denied him in his relationships with women. Ultimately however Tamara and Nadejda are revealed to be the same woman, a young Georgian member of a Russian acting troupe. Convinced Rozanov has manufactured the entire scenario to embarrass him, Lesslie engages an Egyptian astrologer to bring the wrath of the Egyptian god Thoth upon the Russian, and Rozanov is accidentally killed during a production by the troupe of the play The Sign of Thoth in the presence of both Baroczi and Lesslie. Baroczi tries to rouse Lesslie, but cannot: he too is dead. Somewhat dispassionately Baroczi reflects at the close of the novel upon Lesslie's placelessness: Though I could not contemplate without some emotion the conclusion of our experiment, I remembered that Lesslie had desired it and accepted its dangers. As to Lesslie's hopes of it: in his deeper soul, he was a man without a country. He had not, essentially, given himself to the new land of his birth; and, being subtly modified by his transplanting, he could not easily take root again in the parent earth of Europe. (382) Initial reviews for this florid and rather curious tale were promising. S.E. Napier in the Sydney Mail praised the novel as the work of 'an artist with the pen' (Napier 16). 'In the telling of this tale,' Napier wrote, 'Crockett has excelled himself. Not only is it a fine piece of descriptive work, but the settings are so fascinatingly conceived and the characters so well drawn that it is little wonder that Lesslie's individuality became merged in Mezzomorto's so deeply that he underwent all the sufferings and exultations of this brutal Barbary pirate' (16).
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